Silverstein & Tonight Alive

GMBG Presents

Silverstein & Tonight Alive

Broadside, Picturesque

Fri Feb 9

Doors: 6:00 pm / Show: 7:00 pm

Gas Monkey Bar N' Grill

$18 - $400

This event is all ages

$18 Advance / $20 Day of Show/ $35 Premier Balcony/ $175 Premier Tables/ $400 Premier Cabanas 

It takes numbers to craft a movement out of sound. It takes numbers, and it takes throat, calloused fingers, worn out joints, and a sea of voices singing along. It takes numbers, and it takes work. It takes playing basements and community centres as much as it takes stages, and festivals. It takes years of dedication, sincerity, and community. And yet, only a few artists are so honoured as to become synonymous with their era. Since 2000, Silverstein has kept its roots firmly planted in the terrain of post- hardcore. Sixteen years later, the genre is impossible to talk about without mentioning this seminal group.
Well over a decade of performances, of writing, and recording has afforded the group time to evolve and push forward, and Silverstein have taken the whole scene on this ride with them. To speak about the differences— whether musical, lyrical, or tonal— between When Broken Is Easily Fixed and their latest effort, I Am Alive In Everything I Touch, speaks about the differences in post-hardcore at large then and now. Since the release of When Broken, Silverstein have continued to reimagine their sound, and the genre with it. 2016’s I Am Alive is a monument to their career. The record takes its listener on a tour bus driven odyssey that is all too familiar to a group used to packing its life in suitcase and hitting the road. Distant milestones, and the homeward reach help to carve out a concept that could have only been pulled off by a band with such a cultivated relationship with the terrain of North American alternative music. And though the record ends back home in Toronto, ON, you can be sure that the group doesn’t intend to let the dust settle on their suitcases just yet.
As they’ve done so many times in the past, Silverstein are hard at work in the studio and on the road this year. Their shows continue to fill rooms with energy and life, and their records continue to reach eager ears. Their music continues to marry aggression and melody in a way that only Silverstein seems able to. And their dedication to their craft is more evident than ever before. Sixteen years and their outlook hasn’t changed: more days on the road, more songs, more work, more fans, more music, more friends. The numbers grow with everything they touch.
Tonight Alive
Tonight Alive
Tonight Alive – Underworld

“The album is called Underworld and I named it that because it reflects the ugly parts of
me that I wasn't ready to see til now.” – Jenna McDougall.

Underworld, the cathartic new album from Tonight Alive, is an honest representation of
what has happened to the band in the past year. The band’s most organic album yet,
Underworld is a raw and real insight to a band reconnecting with their authentic selves.

“I think a lot of people have put me on a pedestal, thinking I’m a really happy bright
positive person,” says frontwoman Jenna McDougall. “I think it’s important to set an
example that we all have darkness and we all have pain and that pain can make us sick.
Emotional trauma can have a huge mental, physical and spiritual effect on you and it’s
important to address those things. The fact that it’s coming from someone like me, I hope is
helpful because people definitely have had one perspective on me so far.”

I see a woman in the mirror, but she’s not in my reflection – The Other

Since 2008, from the outside it seemed like Tonight Alive were living every band’s dream:
they were signed to a major label, released a trio of successful albums – including two ARIA
Top 10 hits – and years of relentless touring saw the Sydneysiders become a force on the
global music scene.

Behind the curtain, it was a completely different story for the now four-piece, comprising of
McDougall, rhythm guitarist Jake Hardy, bassist Cameron Adler and drummer Matty Best.
Coming into their third record with peak success the #1 goal, the pressure was on for
Tonight Alive to create a big record with that ever-elusive radio hit.

In spite of all the good intentions in helping the band reach their goals, Tonight Alive struggled with their identity in a corporate environment. At a time when McDougall was excited to take creative risks with her image to match their message of empowerment, she
also had to make sure it was palatable for a wide audience. McDougall couldn’t understand
why she couldn’t be the same person on the stage as she is off it, and this had a deep
impact on her formative years.

“I didn’t know how emotionally draining and detrimental it would be to have middle-aged
men commenting on and having input in the way I present myself. It’s been that way growing up, since starting the band at 16 until now at 25. I’ve always had a strange relationship with men in the music industry because they oppress me. It’s really confusing learning this with a teenager's mind thinking it’s normal. It was really underhanded and always in a blackmail kind of way. It was like, ‘if you do this, you can do that. If you really want to put Human Interaction out and have green box braids and wear a white space suit inspired by TLC, you have to have a conventional image for the Drive video and you have to have back up dancers and do a pop video.”

I feel so alien in the place that I call home – In My Dreams

The lead up into the writing and recording of Underworld was confusing time for Tonight
Alive. Prior to laying the groundwork for album #4, Tonight Alive severed all their contracts
and McDougall shaved her head.

“I needed to be free of this thing that has controlled me so much, that so many people have had a say in, and I’ve allowed it to mess with my self-confidence and self-esteem,” she says. “That was the pinnacle of me trying to detach from anything superficial. I’ve been through
all the dieting, the gym and all the abuse to try and be beautiful and it never worked. It doesn’t matter how far you go to be beautiful, if it’s not for yourself you’ll never be satisfied.”

Time has come to begin again – My Underworld

The foundations of Underworld were laid by McDougall and former guitarist Whakaio Taahi
(who has since departed the band to focus on his song writing career in Nashville) at her home in Sydney and realized at Krabi Road Studios in Thailand with the help of producer Dave Petrovic, who worked on All Shapes and Disguises (2010), Consider This (2010) EPs and The Other Side (2013). In the wonderfully breathtaking and serene coastal province, Tonight Alive were free to write the album they wanted to. There was no pressure to write a hit for
radio, nor did they spend days in a producer’s office criticising their songs while watching
endless videos of female electronic pop stars (as the process went with their record prior, Limitless).

“Beautiful places let you reflect on the stuff you don’t want to see about yourself,” says
McDougall. “I wasn’t happy at the time we were in Thailand; I was actually really suffering
with my health and the confusion of where everything was at with the band. It wasn’t an easy time at all. I think when you get solitude and get to withdraw from everything and
everyone, that’s when stuff starts to surface. It was a perfect place for us to hold space for
us to go through some heavy realisations.”

One of the songs that emerged from these sessions is Temple. Born out of a time when McDougall was experiencing severe depression and fatigue, the lyrics were penned when she was totally entrapped in being sick in her mind, body and soul.

“I was developing an allergy to everything. I couldn’t have any food without having an allergic reaction and my body was covered in unbearable eczema. At the time I had no energy, I had head spins. Temple is about the helplessness and the desperation of trying every single possible remedy and being on the phone multiple times a day to different doctors trying to get some sort of diagnosis, I ended up starting to look for an autoimmune disease because I just believed all those conditions had to add up to something greater.”

Despite endless blood tests and no diagnosis for what she was experiencing in sight, McDougall felt powerless within her own body.

“Another part of Temple is that I developed an eating disorder because of these allergic reactions. There was nothing I could eat, so I was on such a strict diet to the point where I couldn’t eat food and limited amount of vegetables would make me react, so I started developing a habit and it went on for two years. I didn’t really tell anybody about it, there was one person that knew. It took me a long time and it definitely became an addiction because I couldn’t even eat without the fear of my condition being any more severe, so that’s what inspired Temple. I’m out of that stage now but it was all-consuming at the time.”

In the end, McDougall never got a diagnosis for her illness. She believes it was a spiritual illness and, in a way, she’s grateful for the experience and the woman who has emerged from the other side.

“I think being sick is part of the underworld and the shadow work for me because it forced me to do so much emotional realisation, and to make decisions that are excruciatingly hard. Being sick really pushed me to raise my awareness and make more empowered decisions for my happiness.”

As a body of work, Underworld is a pure expression of who Tonight Alive are at this point in their lives. An emotional journey of the underworld we all have within us, the band artfully blended their last four albums and channeled them into a clear sound with a renewed focus on driving heavy guitars and drums with honest lyrics that see McDougall dissect her darkness to get a deeper understanding of who she really is. Songs like Temple and Disappear – featuring guest vocals from Lynn Gunn (PVRIS) – wrestle with pain and the sickness that follows, while For You and Crack My Heart sees McDougall sing about love for the first time in some years. The album culminates in McDougall finding peace in My Underworld, a stirring duet featuring Slipknot / Stone Sour frontman Corey Taylor.

At its heart, Underworld is Tonight Alive letting their love of music bleed into their songs
again, even if the journey to get there was painful.
“Broadside’s upbeat flavor will have you playing it on loop and belting out the lyrics in no time” - HUFFINGTON POST

“The ultimate summer album” - ROCK SOUND

“The record that sets Broadside apart” - SUBSTREAM

“The punk mob bring their own strain of irresistible saccharine goods” - KERRANG!

“There’s a poetic lyricism on Paradise that Broadside has mastered” - ALTERNATIVE PRESS

“The quintessential summer album, a triumphant record of the year candidate” - NEW NOISE

“One of the most unique pop punk albums of the decade” - BUFFALO STATE RECORD

As soon as the majestic opening licks of the album’s lead off track burst onto the speakers, it’s obvious that BROADSIDE are setting bigger and better goals the second time around. An album of boundless energy, Paradise is a culmination of two years’ worth of experiences, sacrifices, and tireless effort, and the end result is a go-for-broke tour de force in pop-tinged punk rock.
Paradise doesn’t completely change direction from the 2015 punchy debut Old Bones, but it shows a remarkable triumph from a band that has rarely left the road since that year. With the line “The sun peeking from the tall palm trees,” the title track ‘Paradise’ sets the personality for a summer sunshine-stained statement. “The whole concept of Paradise is that you should chase that little view of happiness you create in your mind,” explains front-man Ollie Baxxter. “We often put our dreams and desires to the side believing they’re unrealistic, but this record is about building a bridge to reach your goals, your dream, your...Paradise.”

By the summer of 2016, BROADSIDE circled the US multiple times with the likes of State Champs, Roam, and Handguns to name a few, and the demand for their punk-rooted pop anthems escalated, as they were constantly ushered to larger stages during that summers’ Vans Warped Tour. On one particular stop, Baxxter was befriended by a young, hearing impaired fan who had recently gone through ear reconstructive surgery to repair her full hearing. “I met this anxious young woman who was wearing a huge, comforting smile while waiting in line to meet us. She told me that our band was one of the first she had ever heard at full capacity, and that our performance moved her in a way she never felt before, and how lucky she was to have been able to physically hear the set. I couldn't say a word, except to hold her close and cry because it moved in a way that I've never felt. Here stood a girl, no older than my own baby sister, thanking me for performing. I was just doing my job and it was really me who should have thanked her for her strength and courage to share her story. Moments like that are exactly why I write to the youth in our songs. PUSH THROUGH, OVER ANY AND ALL OBSTACLES.”

The former Richmond, VA outfit now calls Los Angeles home, where they teamed up again with New Found Glory & All Time Low producer Kyle Black in January of 2017 to lay down the groundwork for Paradise. “You know what, Kyle Black is a wildman who knows what he is doing, and we were lucky to be able to record another record with him. I hope this record made him proud of us,” admits Baxxter. Immediately following the sessions, BROADSIDE packed their gear and headed to the United Kingdom for an inaugural visit supporting With Confidence, bowling over new fans and taking a well-deserved seat at the table of their peers.

Named Musician Of The Month by Alternative Press in March 2017, guitarist Dorian Cooke’s resilient vocals take the lead on the soulful hymn ‘Laps Around A Picture Frame,’ while ‘Tunnel Vision’ will quickly land as live favorite with its skyscraping vocals. And Paradise doesn’t just have storming tracks, the lofty ‘Who Cares’ beams with the bands inner personalities of turning a bad situation into quick witted humor, while the balance between Baxxter and Cooke’s vocals on ‘Summer Stained’ is damn near perfect. BROADSIDE expand their sound into unheard punk turf incorporating trumpet on the first video from the album, ‘Puzzle Pieces,’ and the Morrissey-channeled, ukulele driven, ‘I Love You, I Love You. It’s Disgusting.’ “This record is the sound we have been trying to achieve all of our career, we aren't afraid to try new things and that is apparent with Paradise,” declares guitarist Niles Gregory.
Picturesque is a rock band from Lexington, Ky.

For fans of:

Circa Survive
Of Machines
Sleeping With Sirens
Venue Information:
Gas Monkey Bar N' Grill
10261 Technology Blvd E
Dallas, TX, 75220